William Parker

William Parker (bass; b. 1952)

(photo: Dave Kaufman)

Probably the most creative and forward-thinking bassist since Charlie Mingus, William Parker has been a prolific recording artist for more than three decades and over 20 albums. William Parker's technique is direct and his phrasing is always well considered. His records range from avant garde to hard bop to large ensemble pieces -- all with great inventiveness. He has played with such luminaries as Charles Bracken, Rashid Ali and Don Cherry -- to name a few. All have had an influence on Parker's work to one degree or another.

A series of releases recorded with his most consistent quartet, featuring Hamid Drake (drums), Rob Brown (sax), Lewis Barnes (trumpet), include two highly recommended projects, O'Neals Porch and Sound Unity (both on Aum Fidelity). Both highlight the ability of each member to establish, develop and create thematic moods that evoke a sheer mastery of their instrument.

The themes and directions of both albums, while building toward free improvisation, actually start with a foundation that many will find accessible. The material is highly layered and the individual performances gel magnificently. At their best, they're reminiscent of Charles Mingus' releases for Impulse during the 60s, such as Black Saint and Sinner Lady.

The title tracks and "Song For Jesus" are notable for their lyrical beauty. Brown and Barnes also express themselves wonderfully throughout these sessions, making it clear that no one in this band is ever overshadowed. While many of Parker's albums are very complex with themes and textures that can be overwhelming and arching in new directions, both Sound Unity and O'Neals Porch are well suited for the uninitiated. Two must listens by far.

Thelonious Monk Live In Stockholm 1961

Thelonious Monk
Live In Stockholm 1961 (Dragon Records)
Thelonious Monk (piano)
Charlie Rouse (sax)
John Ore (bass)
Frank Dunlop (drums)

The Thelonious Monk Quartet were in midst of a European tour at the time Live In Stockholm (Dragon Records) was recorded. It is probably one of the favourite Monk concerts I own. The sound quality is excellent (originally from a Swedish radio broadcast). There's nothing new in repertoire for this tour. It takes place just a few months before Monk would sign for Columbia Records and he was really starting to become a household name among jazz lovers. He's band (Rouse, Ore and Dunlop) had been together for two years now were to prime form. The gig kicks off with a great version of the Monk standard "Jackie-ing" with some killing interplay between Rouse and Monk. At this point the two men probably had the same brain they were so in sync. Charlie Rouse really is on fire during this performance especially later on during the set on "Well You Needn't" and "Beshima Swing". Rouse also has an incredible solo on "Round Midnight" that is best heard loud. This quartet was Monk most powerful and prolific.

Monk kept this group together along with selected touring/session members for almost four years before Ben Riely took over on drums from Frank Dunlop. The evening ends with a lovely version of "Body And Soul" as only Monk could do it. While there isn't anything historic about this date it is well worth seeking out for the sound quality and pretty decent packaging. Live In Stockholm is a brilliant snapshot of Monk and his quartet in fabulous form.

Unfortunately I haven't found any footage of this performance or of this quartet together at this time period. The performance below is from the quartet Monk put together shortly after Dunlop and includes Charlie Rouse (sax), Ben Riely (drums) and Larry Gayles (bass). Still a stellar quartet and marvelous work from Monk.

Miles Davis: After Bitches Brew

Miles Davis (trumpet)

Big Fun (Columbia, 1969)

The Miles Davis cannon is showered with influential and astonishing albums, Bitches Brew being one of them. But after you've listened to Bitches Brew and you experience the "world" music vibe Miles was trying to capture, where do you go next? He would make slew of incredible live album featuring all new material during the '70s. One album that I've always felt was overlooked is entitled Big Fun (Columbia; 1969). Big Fun is awash of electric fusion but also Indian raga and hypnotic modal structures.

Big Fun actually took 4 years to complete. Miles had recorded almost every track with a different ensemble of musicians (including Herbie Hancock, Chick Corea, John McLaughlin, Billy Cobham on drums and the wonderful sitar and tambra work from Khalil Balakrishna. Balakrishna's trance-like work is evident on the opening track "Great Expectations". This really does set the tone for the proceedings. Another standout for me the duel between Chick Corea and Joe Zawinul both on electric piano (right and left channel (or speaker) respectively) on the lovely "Recollection". There's also some funky movements with "Ife" mainly provided by piano work of Lonnie Smith and Harold Williams but some infectious drum/percussion work from Al Foster, Billy Hart and Jame 'Mtume" Forman.

Big Fun is a massive cross section of styles that really only Miles could orchestra among so many musician over 4 different sessions. It's a jaw dropping experience to hear this recorded after Bitches Brew and seeing contrast the movements. There not radically different, just the emphasis is placed--jam sessions with short bits of structure--but only Miles knows that. The majority of the tracks on Big Fun were technically recorded during other sessions which is why some jazz fans may know some of the tracks from boxed sets (Bitches Brew and On The Corner) but make no mistake this is an album that Miles had in mind and its a beautiful mixture of styles that you should definitely listen to after Bitches Brew. If you have it already let us know your thoughts.

Billy Higgins: Why He's Important

Billy Higgins (drums; b.1936 - d. 2001)

The greatest and most recorded jazz drummer of all time. High praise yes but if you actually knew how many albums on which Billy Higgins plays, you would understand (and also probably be a very rich person). Billy Higgins played in R&B when he was young, coming to prominence once he joined bassist/pianist, Red Mitchell's group. This led him to apply his versatility in both complex and delicate recording sessions and live gigs. Billy Higgins had become the "artist of choice"--recording and performing with such musicians as Lee Morgan, Pat Metheny, Herbie Hancock, Ornette Coleman, Thelonious Monk, Sonny Rollins and most recently with Charles Lloyd.

His style was rhythmically understated but always precise. Billy Higgins could literally do-no-wrong when behind the kit. As a result of Billy's "in demand-ness" (at least 100 sessions as sideman) his own discography is very thin. But thinness doesn't mean lack of quality. Of the ten albums attributed to him as leader only about four are still available--just barely. I don't own all his albums but he is one of the first artists I look forward when I'm in a used record store. His recordings are beauty and each provide a small bit a variety to making them very distinct from each other. Again the understated quality combination with superb musicianship.

I would recommend The Billy Higgins Quintet (Evidence, 1997) as one of the album you should definitely seek out. Quintet includes a wonderful lineup featuring Oscar Brashear (trumpet), Harold Land (sax), David Williams (bass) and his most consistent collaborator Cedar Walton (piano), all in absolutely sublime form for this outing. Higgins was never really an original composer; his own releases contained standards and material written by his fellow musicians. But that shouldn't stop you from taking a good listen to this fabulous recording. Cedar Walton and Harold Land are legends and are really cookin' on this session as evident on the opener, "Step Right Up To The Bottom," and " The Vision" both written by Land and Walton, respectively. They almost overshadow the proceedings until you listen closely and realize who really is leading the session--Higgins. It's an awesome recording that would be worth the money to pay for.

In the last few years of his life he had recorded with saxophonist Charles Llyod, most significantly on Llyod's 2004 album Which Way Is East (ECM). Which Way Is East is phenomenal and features an array of instruments played by both musicians on this duo session. Higgins even plays guitar on a couple of tracks. This album may be only for the true jazz fan but I highly recommend it as an example of what both artists can do at the top of their game. The album was recorded just a few months before Higgins passed away.

Billy Higgins was an indelible figure and his influence will be felt for years to come. Check some of your albums you may even have Higgins in your collection and don't even know it. The word "legend" gets used allot (even by me) but in Billy Higgins case it is beyond a shadow of a doubt.